The first day of the 'Beyzaie Week' event opened at the City Theatre Complex in Tehran on Sunday. The opening featured staged readings of two plays by the late Iranian playwright, director, and researcher Bahram Beyzaie.
The program, organized in collaboration with the City Theatre Complex, will run from November 8th to 12th in the Mashahir Hall. According to Mehr, the program will present six plays performed by students from the theatre university and members of an independent theatre group.
The opening session featured the play 'Ziafat' (Feast), directed by Roham Amin. This was followed by a performance of 'Chronicles of Bondar Bidaksh,' directed by Zohreh Sadeghian.
On Monday, November 9th, the program continues with a showing of 'Sahel-e Nejat' (Coast of Salvation), scheduled for 5:00 PM. On Tuesday, the play 'Chahar Sanduq' (Four Boxes) will be shown at the same time. On Wednesday, November 11th, audiences will see 'Azdahak,' directed by Sedighe Hamrahi. The final session, taking place on Thursday, November 12th, will feature 'Arash,' directed by Ardeshir Sheibani. All readings are scheduled to begin at 5:00 PM.
The play 'Ziafat' is symbolic and refers to ancient myths and rituals, exploring themes of violence, sacrifice, and the destructive mechanisms of social order. The plot centers on a shepherd tasked with protecting his flock from a wolf. However, instead of following the traditional hero's path, he becomes a victim of the forces he should be confronting. Through the figures of the shepherd and Dehbashi Beyzaie, it analyzes a society that demands heroes but ultimately sacrifices them to maintain the established order. The play also borrows from the biblical story of Cain and Abel, mixing mythological references with ritualistic theatrical elements to question the recurring cycle of violence and sacrifice.
'Chronicles of Bondar Bidaksh' tells the story of Bondar, a scholar and inventor who creates the legendary chalice that reveals the world to King Jamshid, and serves as his trusted advisor. Bondar shares his scientific discoveries and knowledge with the king, allowing him to rule the world. Nevertheless, as Jamshid becomes increasingly consumed by power, he begins to view Bondar merely as a means to strengthen his authority.
Fearing that the scholar might one day pass his knowledge to an enemy, the king imprisons him in the Ruine Dej, an impregnable fortress built using Bondar's own knowledge and experience. Reflecting on his fate in prison, Bondar regrets his blind trust in the king and his inability to secure a secret escape route. Through these tragic relationships, Beyzaie explores the conflict between knowledge and power, betrayal, and the vulnerability of intellectuals under authoritarian rule.
'Sahel-e Nejat' revolves around a young girl, her parents, younger brother, and two suitors—one bald, the other bearded. As the plot develops, the parents die, and the younger brother constantly goes to sea searching for bottles containing messages from drowned people. Meanwhile, the two suitors boast about their talents and claim to be experienced swimmers, even proposing a scientific method for teaching the girl how to swim. However, when the girl prepares to enter the water, their claims prove to be empty boasting: neither man actually knows how to swim. The play ends with cries for help from the siblings as they drown, exposing the tragic gap between the suitors' declarations and their actual abilities. Using absurdist situations and symbolic imagery, Beyzaie explores false heroism, empty promises, and the failure of those who present themselves as capable of saving others.
'Chahar Sanduq' uses a symbolic dramatic structure to examine social structures, power relations, and the limitations imposed on individuals. This work reflects Beyzaie's characteristic use of allegory and theatrical devices to illuminate broader social and political issues.
'Azdahak' draws upon ancient Iranian mythology and legendary narratives. By reinterpreting mythical material through a modern dramatic lens, Beyzaie explores the nature of tyranny, power, and the struggle between oppression and resistance.
'Arash' reinterprets the legendary Iranian archer whose sacrifice, according to national myth, defined the borders of the country. The play uses one of the most enduring figures in Iranian mythology to explore self-sacrifice, national identity, and the connection between individual destiny and collective survival.
Bahram Beyzaie, born in Tehran in 1939, was one of the most influential figures in modern Iranian theatre and cinema. As a playwright, theatre and film director, screenwriter, and researcher, he played a key role in utilizing Iran's literary, historical, and mythological heritage to forge a unique contemporary dramatic language.
His extensive body of work includes plays, films, and scholarly works on Iranian theatre, mythology, and traditional performing arts. Beyzaie directed acclaimed films such as 'Bashu, Stranger' and 'Travelers,' while his theatrical works, including 'Death of Yazdegerd' and 'Sinbad's Eighth Voyage,' remain important contributions to Iranian dramatic literature.
Through his innovative approach to narrative, symbolism, and historical narratives, Beyzaie has left an indelible mark on Iran's cultural life, influencing generations of theatre artists and filmmakers. The week-long program provides young theatre artists with an opportunity to engage with his dramatic legacy and introduce his works to a new audience.
